Mace oversees delivery of new ArcelorMittal Orbit 178 meter slide

27 July 2016 Consultancy.uk

The ArcelorMittal Orbit, a monument to the 2012 Summer Olympic and Paralympic Games hosted by London, boasts a new 178 meter slide. The slide, which opened last month, provides vistas on London’s skyline as well as 12 twists and turns and speeds of 15 miles per hour.

The ArcelorMittal Orbit is the UK’s largest piece of public art, standing at 114.5 metres. The work was created by Anish Kapoor and Cecil Balmond, and the construction was overseen by Arup, back in 2012. The monument represents a permanent lasting legacy of London’s hosting of the 2012 Summer Olympic and Paralympic Games. The art work is climbable, and provides a viewing platform with vistas across Olympic Park and London more widely.

The work has had mixed reviews, both regarding its artistic as well as functional merit. Last year it was announced that plans had been tabled to partly repurpose the work as the world’s largest slide. Mace was appointed to lead the design, procurement, construction and completion of the slide’s construction. The professional services firm ran a feasibility study, focused on developing the slide in such a way that it fits in seamlessly with the wider work, as well as develop an enjoyable ride for people.

Mace designs and constructs new ArcelorMittal Orbit 178 meter slide

The slide’s design has been completed and winds down through 178 meters from a height of 78 meters. Twisting and turning 12 times, through light and dark sections, the slide provides extensive vistas on the London skyline. The slide itself is made of 800mm diameter by 3mm thick stainless steel tubes cut into 30 sections.

The new slide opened on the 24th of June, and the cost of a ticket is set at £10 for unlimited entry for 365 days from first use.

Derry Power, Mace Project Manager at the ArcelorMittal Orbit, says: “This iconic project is not only going to provide another fun destination for the local community and visitors at Queen Elizabeth Olympic Park, but shows great collaboration between artists, designers, engineers, project managers and specialist contractors. The collaborative project team has worked tirelessly to design, develop and install a slide which will symbolise a lasting legacy at the park for years to come.”

Peter Tudor, Director of Visitor Services, London Legacy Development Corporation, says: “After taking in the incredible views of the city from the top of the ArcelorMittal Orbit, what better way to descend the UK’s tallest public artwork than by whizzing down a slide? This will be one of the most exciting things to do in London – and yet another reason to visit Queen Elizabeth Olympic Park.”

Profile

×

Accenture's Rothco installs new Executive Creative Director

24 April 2019 Consultancy.uk

Jen Speirs is set to take over from Alan Kelly as the Executive Creative Director of Accenture Interactive-owned agency Rothco. Speirs arrives as Kelly takes up the role of Chief Creative Officer at the firm.

Rothco is a full-service creative agency based in Dublin. Founded in 1995, the firm contains more than 150 strategic, creative, technology, design, project management and production professionals located in Ireland’s capital city. The agency strategically plans, designs and produces powerful communications campaigns across Europe for numerous iconic brands, including Tesco, Heineken and Lyons. Internationally recognised for its prowess in the sector, Rothco notably found success at the Cannes Lions awards in both 2015 and 2016.

Such success inevitably drew the eye of Accenture during its extended spending spree to strengthen its digital design and advertising offerings, housed under the Accenture Interactive moniker. A year after purchasing Rothco, Accenture Interactive has since continued this push into the advertising space, acquiring New York and London-based agency Droga5 earlier this month, and adding illustrious clients such as HBO, Amazon and The New York Times to its roster of clients. Despite its purchase, Rothco has also been undergoing its own period of change, however.

With the news that long-term incumbent Alan Kelly had won a promotion from his position as Executive Creative Director (ECD), the agency commenced a hunt for his replacement. Kelly joined Rothco nine years ago as a Copywriter, and has now worked his way up to the role of Chief Creative Officer. Assuming that office, he will pass on his previous role to Jen Speirs, who exits BMF Australia, relocating half way around the world to fill the vacancy.

Accenture's Rothco installs new Executive Creative Director

Speirs was appointed BMF’s Deputy Executive Creative Director in March 2018, having joined BMF as a creative director in 2016 from her previous role at Foxtel, where she was a Freelance Creative Director. Following her arrival at BMF, she worked across brands such as McDonald’s, Carefree, Arnott’s, Berlei, TAL, Bonds, BWS, UN Women and the Workplace Gender Equality Agency, while her work has picked up awards at NY Festivals, Clio, AWARD, Cannes, Effies, Media Federation, Caples, and Spikes Asia. Speirs also worked at DDB Sydney as Creative Director for six years, with clients such as Telstra, Lipton and Johnson & Johnson.

Commenting on her new challenge, Speirs said, "When I look at a lot of Rothco's work, like JFK Unsilenced, the #takenotice breast cancer campaign on the Molly Malone Statue, Sleeping Flags – it all has that perfect combination of creativity, innovation and craft… So the opportunity to go and be a part of that, and work with the awesome people I’ve met so far, was far too good to say no to. I can’t wait to get over there and get stuck in.”

Remarking on Speirs’ arrival, Kelly added, "I am chuffed we have poached someone as incredibly talented as Jen Speirs. I think it’s a testament to the work we are doing in Rothco that we are attracting world-class talent like Jen to these shores. Jen is a super addition to the team as she is both gifted and decent, two qualities we always look for when we hire. I also may have told her that Dublin's weather is pretty much the same as Sydney's – hopefully, she hasn't fact-checked this yet."

Related: Accenture's push into the creative sector is an identity crisis.